Everything or Nothing: The Untold Story of 007 (2012)
Everything or Nothing: The Untold Story of 007 is a lot more than just some bit of fluff, promotional documentary celebrating the 50th anniversary of the Bond movies. It is quite a frank insight into the history of the Bond franchise, although it is very much told from the perspective of EON productions. The movie title comes from the production company acronym “Everything or Nothing” which was formed by Harry Saltzman and Albert “Cubby” Broccoli. Although somewhat partisan in its tone, this is not a rose-tinted exploration of the staggering success of Ian Fleming’s iconic character. The documentary does in fact make you rethink many notions you may have had about certain high profile Hollywood stars and producers.
Everything or Nothing: The Untold Story of 007 is a lot more than just some bit of fluff, promotional documentary celebrating the 50th anniversary of the Bond movies. It is quite a frank insight into the history of the Bond franchise, although it is very much told from the perspective of EON productions. The movie title comes from the production company acronym “Everything or Nothing” which was formed by Harry Saltzman and Albert “Cubby” Broccoli. Although somewhat partisan in its tone, this is not a rose-tinted exploration of the staggering success of Ian Fleming’s iconic character. The documentary does in fact make you rethink many notions you may have had about certain high profile Hollywood stars and producers.
Initially focusing on author Ian Fleming’s struggles to get the novels filmed, the curious catalogue of failures that brought Saltzman, Broccoli and United Artists together are quite fascinating. As the franchise grew and started to gain momentum it seems inevitable that all parties would eventually fallout. Artistic differences, financial remuneration, taxes and ego all played a part. Then of course there was the problem of how a joint writing venture with Kevin McClory led to rights disputes and a series of legal battles that would drag on for decades. It ultimately led to the unofficial Bond movie Never Say Never Again being made in 1983. Unlike other popular franchises the Bond series has also had to face the trauma of recasting it’s lead actor not once but five times.
The documentary speaks to all actors who have played Bond, except Sean Connery, although his views are still adequately represented by archive footage. There is considerable candour from George Lazenby, Timothy Dalton and Pierce Brosnan. Lazenby is very clear as to why he lost the role that he worked so hard to obtain. Dalton’s Bond suffered by arriving at a time when the franchise was in transition. He still remains in my view the Bond that deserved at least more film. Brosnan also gives an honest account of the effects of playing such an iconic role and how he vividly remembers the filming of Goldeneye, but how the sequels are all blurs. Everything or Nothing: The Untold Story of 007 is greatly enhanced by well-placed clips from the various movies to under pin the narrative, as well judicious use of John Barry’s various scores.
As previously mentioned the documentary’s candid approach doesn’t always paint a favourable picture. Mr. Connery is shown to apparently hold a grudge. Money often seems to be the cause of disharmony within the core production team. Plus many have frequently been or still remain tax exiles, a stance that seems to be increasingly unpopular in contemporary society. Yet despite the troubles that have beset the franchise over its fifty years, it still managed to reinvent itself and remain popular, commercial and relevant. What Everything or Nothing: The Untold Story of 007 demonstrates is that regardless of talent, marketing and the full weight of Hollywood, to be truly successful still requires an element of luck as well as being in the right place at the right time. This is why so many other lesser franchises will never get to celebrate a 50th anniversary.
UI Customisation
Game complexity can be both a boon and a bane; a selling point and a source of irritation. There are many titles that I enjoy that have a wealth of systems and mechanics that add greatly to the overall immersion and entertainment. The MMORPG genre excels at this. However, this data all needs to be displayed visually, in an efficient and intuitive fashion. It has to be readily available and easy to navigate. Naturally, there’s a fine balance between making such a system accessible without becoming a source of distraction. This is the challenge that all developers face when designing a user interface. However this problem is compounded further by the human element. Regardless of how well crafted a game’s UI may be, players will always wish to change it to suit their own needs and requirements.
Game complexity can be both a boon and a bane; a selling point and a source of irritation. There are many titles that I enjoy that have a wealth of systems and mechanics that add greatly to the overall immersion and entertainment. The MMORPG genre excels at this. However, this data all needs to be displayed visually, in an efficient and intuitive fashion. It has to be readily available and easy to navigate. Naturally, there’s a fine balance between making such a system accessible without becoming a source of distraction. This is the challenge that all developers face when designing a user interface. However this problem is compounded further by the human element. Regardless of how well crafted a game’s UI may be, players will always wish to change it to suit their own needs and requirements.
What I often find in the MMO genre, is that the UI is streamlined at the beginning of a game with all the essential data that you need to play, evenly distributed around the screen. This grows exponentially as the game progresses, especially with older titles that frequently suffer from skills bloat. LOTRO is a classic example of this with a wealth of data swamping the screen when you reach level cap. I remember having similar issues when I was actively playing SWTOR. I encountered the same in STO recently, especially with regard to the skills hot bar. This was growing and intruding further towards the middle of the screen, impeding combat.
Mercifully most games have the ability to customise the UI, allowing players to indulge their preferences. Furthermore custom HUD settings can frequently be saved and then loaded when required. Monitor size and screen resolution also play a part in this matter and can have a positive impact if altered. Many games also have a cottage industry of players creating and sharing their own custom user interfaces. LOTROinterface has proven to be very popular over the years. The WoW and ESO communities also have multiple sites and resources for such changes. In the competitive genre of MOBAs, a common interface between team mates can be advantageous.
I currently have a 24 inch monitor with a resolution of 1920 x 1200. It provides a fairly large gaming canvas and allows me to spread the various elements of the UI to the borders of the screen. However an excess of data on the periphery of your vision can be distracting, especially if it flashes or attempts to alert you in some fashion. I also find it an impediment if my hot bars start to encroach towards the centre of the screen. I don't know if this is due to a foible of human vision but I find it draws my eyes away from where they need to be. I've had such problems in STO recently with my hot bar resembling a pyramid, resulting is some judicious customisation.
The ability to alter a games GUI, raises some interesting questions. The most obvious is whether or not you actually need everything on-screen. My view is if you're not using a specific element of the HUD, then remove it and that goes for skills as well. Then there is the matter of whether games developers are doing their best to accommodate the needs of players with disabilities. Resizing elements and changing colour schemes, as well as assigning audio alerts can all be incredibly beneficial. Fonts can also be a bone of contention, with some not lending themselves readily to being scaled. A simple change of this nature can often improve gaming.
Personally, I would like to see more customisation options added to games. The mod scene in Skyrim really set the standard. I also like the way that some MMOs such as LOTRO have built in voice chat and access to social media. STO allows players to utilise third party audio players while in-game and The Secret World has its own internal web browser as part of the narrative. Although it is to a developer’s advantage to keep the player focused and in-game, facilitating customisation and providing multiple tools aids this process. Flexibility and accommodating change needs to be more of a driving factors in games development because no two players are alike.
The Geography of LOTRO: Part 2 Bree and Bree-land
In the second part of our look at the geography of Middle Earth, we shall be focusing of the town of Bree. It has a pivotal role in the events of the book and subsequently play a similar part Standing Stone Games Lord of the Rings Online. Before we start, let us remind ourselves exactly what Tolkien writes when introducing Bree to the reader. The following quote is the opening paragraph of chapter nine; At the sign of the Prancing Pony from The Fellowship of the Ring.
In the second part of our look at the geography of Middle Earth (part 1 is here), we shall be focusing of the town of Bree. It has a pivotal role in the events of the book and subsequently play a similar part Standing Stone Games Lord of the Rings Online. Before we start, let us remind ourselves exactly what Tolkien writes when introducing Bree to the reader. The following quote is the opening paragraph of chapter nine; At the sign of the Prancing Pony from The Fellowship of the Ring.
"Bree was the chief village of the Bree-land, a small inhabited region, like an island in the empty lands round about. Besides Bree itself, there was Staddle on the other side of the hill, Combe in the deep valley a little further eastward and Archet on the edge of the Chetwood. Lying round Bree-hill and the villages was a small country of fields and tamed woodland only a few miles broad."
This is a very clear description and to the developers credit they have interpreted this rather literally in the game. Focusing first on the town of Bree itself, Turbine have constructed a settlement that broadly conforms to Tolkien’s details. As you enter through the West-gate and follow the path of "The East Road" you will see the Hobbit holes and small holdings on the slopes of the hill. The homes of men are mainly to the East. "The Prancing Pony" inn is located at the top of the road, abutting to Bree hill itself. The building consists of two wings, as in the source text, though only one is accessible.
Where the game differs is in scale. Bree in LOTRO has been expanded from a simple village to a more substantial centre of commerce. This adaptation allows them to encompass all the crafting and training halls, along with the vendors and sundry NPCs. The only embellishment I personally feel a little excessive, is the town hall itself. It seems a little too ambitious for such a small and insular community. A similar view could be taken on several of the fountains and statues that adorn the various squares. The 2012 revamp has certainly made Bree more populous. Again, perhaps to the detriment of the lore. However, the hedge and dike that surround Bree are very much in accordance with the books and seem authentic.
Moving immediately outside of Bree into Bree-Land itself, we find both Combe and Staddle in the right locations. These being the respective local enclaves of men and hobbits. As specific details are lacking , Turbines visualisations are perfectly acceptable and not in any way excessive. The village of Archet however, has been moved considerably further North. This is to accommodate the fact that the area is a race specific starter area in the game and has been isolated to suit the mechanics of the game. Such local features within the Archet area such as "Bronwe's Folly", "Sprigley's Farm" and "Blackwold Roost" are non-canonical. However none of these are in any way contrary to prevailing regional design.
The above map and the one immediately below have been created using the original books and the subsequent histories of Middle Earth as a guide. They both depict a more Spartan and less populous village of Bree and a far more expansive Chetwood that extends in to the North and NorthEast. The Midgewater marshes are such a distance away as to not even be included on both maps. As are both Andrath and the South Downs. These points highlight the fact that Bree was the last major settlement East of the Blue Mountains before entering the Lonelands. This was a region that was unsettled and thus to a degree barren.
Turbines original condensing of Middle Earth was and remains a necessary factor in creating a viable environment for collective gameplay. However, on occasions, although LOTRO excels at capturing the spirit of Tolkien’s world, there are inevitable trade-offs. The loss of scale particularly in this region is a little disappointing and for those who may not be familiar with the length of original journey, may be somewhat perplexing. For those who wish for more technically accurate cartography, I would recommend the following books. Journeys of Frodo by Barbara Strachey and The Atlas of Middle Earth by Karen Wynn Fonstad. Both depict the routes taken by the fellowship and contain exacting details relating to dates and even the phases of the moon and stars.
Damning the Elder Scrolls Online with Faint Praise?
I recently wrote about how about how I finally purchased The Elder Scrolls Online, two years after the games launch. As the purpose of this post is to contrast my thoughts on the MMO both then and now and how they may have potentially changed, I must first reiterate how I felt about ESO initially. As memory serves, here is a breakdown of my initial impressions. I participated in the beta testing in 2014 and although I broadly enjoyed the game, I was not in any way blown away by it. Overall things took several hours to hit their stride as far as gameplay and enjoyment. I also felt that the early levels seemed too focused on establishing the narrative at the expense of the player getting into the game. Eventually I did get that Elder Scrolls vibe but it was not immediately apparent. The action combat needed refining and the multiplayer element frankly felt redundant, unless you were focused on PVP.
I recently wrote about how about how I finally purchased The Elder Scrolls Online, two years after the games launch. As the purpose of this post is to contrast my thoughts on the MMO both then and now and how they may have potentially changed, I must first reiterate how I felt about ESO initially. As memory serves, here is a breakdown of my initial impressions. I participated in the beta testing in 2014 and although I broadly enjoyed the game, I was not in any way blown away by it. Overall things took several hours to hit their stride as far as gameplay and enjoyment. I also felt that the early levels seemed too focused on establishing the narrative at the expense of the player getting into the game. Eventually I did get that Elder Scrolls vibe but it was not immediately apparent. The action combat needed refining and the multiplayer element frankly felt redundant, unless you were focused on PVP.
Upon my return, I found that the starting zone was still very much a handholding exercise with regard to the game mechanics and the central story. These “nursery” areas are always tend to be problematic for the MMO genre, often falling between two stools. Some players will find them to too hemmed in and on rails, yet there is a need to teach those new to the genre the basic mechanics of the game. Once out of the starter area, things do pick up and it becomes clear that the game leans more towards Skyrim that to other traditional MMOs. If you elect to play ESO with the standard interface, then it’s incumbent upon you to explore the world and figure things out. If you want a more contemporary MMO experience with mini-maps and a wealth of prompts, then add-ons are your friend.
Second time around I felt far more confident about ESO. Certainly, two years’ worth of patches have ironed out a lot of bugs. The combat is more fluid and will provide you with tells if you so wish. The quest lines are well written and engaging, as is the voice acting. The colour scheme is still very muted and this is a far from vibrant game world. However, the games aesthetics suit the lore and match the previous iterations of the franchise. My experience this time round was also enhanced by the wealth of videos and FAQs that are now available for ESO. I had to watch about thirty minutes of video in total to get an adequate handle on the games systems and intricacies. So overall this was a better experience for me, thus proving the old adage about not being an early adopter. The only thing that remained conspicuously the same was the issue of other players. So far, I’ve had no compelling reason to group or interact with them.
Admittedly, I have only been playing for a few days and therefore ESO may well have further revelations for me that will radically change my opinion on the game. Yet I have a nagging concern that that may not be the case and I’m just going to get more of the same. Namely, an MMO with various systems to progress, gear to grind for and a wealth of well written quests to embark upon. All of which is perfectly acceptable but far from exceptional. To summarise everything so far is okay. In fact, one word can sum things up. Adequate. Now there’s a word that often misunderstood so let us remind ourselves with its dictionary definition. Adequate (adjective) satisfactory or acceptable in quality or quantity". This office is perfectly adequate for my needs". Synonyms: sufficient, enough, ample, requisite, apposite, appropriate, suitable.
Now this raises a very interesting point. Is there anything is wrong with a game being just adequate? Why does every new MMORPG have to be revelation and gaming epiphany? To find an answer to this question, let us consider the realities of our own lives. I doubt very few of us receive utter perfection from any of the services we pay for or products we buy. I drink some well-known but distinctly mainstream brands of beer and spirits. That is not to say that they are not enjoyable but they are not anything special. They are merely serviceable. Society does not overtly balk at the notion of adequacy in other industries. So why are gamers aspirations regarding the MMO genre so much higher than those in other aspects of their life?
Some may feel that the use of such words as "adequate" is simply damning ESO with faint praise and that it is far from a complement. I'm not so sure. I think that the primary reason for ESO’s continuing existence is the franchise itself. This is after all the most current iteration of the Elder Scrolls mythos and it satisfies fan’s needs. The quality of the game, which I am arguing is not all bad, is a secondary consideration. If this was an MMO stripped of the vestige of the IP, perhaps it would not enjoy the level of success that it currently does. Perhaps adequate proves that ESO is still a work in progress, on a continuing journey of self-improvement. Being deemed acceptable and workman like across a spectrum of game mechanics is ultimately preferable to a broken game or one that excels at something and fails at others. At present ESO adequacy is sufficient reason for me to continue playing. After all I’ve played many adequate games over the years and have still enjoyed them.
Who Will be the Next Doctor?
Idle speculation is a national pastime in the UK. Be it about the gender of the next royal baby or who’ll be managing some ailing football club, we’ll happily spend an inordinate amount of time and energy pondering such matters. Is such conjecture based on factually accurate data and a knowledgeable insight of the matter in hand? Unfortunately, not. The only requirements necessary to express an opinion are a rudimentary grasp of the English language, access to a web enabled device and a pulse. The latest matter to arise that offers the public an opportunity to indulge in some fevered speculation, is the news that Peter Capaldi will be quitting the role of Doctor Who at the end of the year. Therefore, who exactly would be the thirteenth incarnation of the Doctor.
Idle speculation is a national pastime in the UK. Be it about the gender of the next royal baby or who’ll be managing some ailing football club, we’ll happily spend an inordinate amount of time and energy pondering such matters. Is such conjecture based on factually accurate data and a knowledgeable insight of the matter in hand? Unfortunately, not. The only requirements necessary to express an opinion are a rudimentary grasp of the English language, access to a web enabled device and a pulse. The latest matter to arise that offers the public an opportunity to indulge in some fevered speculation, is the news that Peter Capaldi will be quitting the role of Doctor Who at the end of the year. Therefore, who exactly would be the thirteenth incarnation of the Doctor.
Now in the past, the pundits and those who work in the industry have favoured rather obvious, existing "stars". This was the case when David Tennant left the show. Such names as James Nesbitt, Catherine Tate, Catherine Zeta Jones and even David Walliams where bandied about. Then the BBC completely wrong footed everyone by casting Mr. Smith. This time round the press are considering a mixture of mainstream contenders as well as a few more obscure and outlandish candidates. So far, the following names seem to come up. Ben Whishaw, Richard Ayoade, David Harewood, Olivia Colman, Maxine Peake, Rory Kinnear, Sacha Dhawan, Emma Watson, Hayley Atwell, Tim Roth, Colin Morgan.
"Well you die and she leaves me and marries Richard Dawkins"
Now many may think that the debate regarding the next Doctor, is nothing more than a discussion about pop culture. It may even be labelled trivial by some. However, I think it also reveals a lot more about society and indicates wider views held by parts of the population. Because some people still find the idea of the Doctor being a woman or non-white unpalatable. It was something that first emerged in 2013 prior to Peter Capaldi getting the role. Similar objections have also surfaced in recent years when speculating about the next James Bond. Because of the current political climate, people are less reticent about expressing such views. Furthermore, such opinions may indicate that not everyone believes in such “shared values” as equality. Perhaps it is time to consider that societal norms are far more fluid.
Now there may well be individuals who object to such things purely for reasons of racism or misogyny. I don’t see the point of dwelling upon the like, because prejudice of this nature is simply irrational and illogical. Call it such and move on. However, I don’t think that all such objections are driven by bigotry. There are other factors in play here. Namely, fan’s misplaced sense of ownership. Fans tend to invest in a franchise, product or concept to the point where they feel that their boundless love gives them a degree of collective involvement or even ownership. This point can be argued philosophically until one is blue in the mouth but the reality of the situation is driven be the law. Fans despite what they may feel, are passive observers and financial donors and nothing more.
"It wasn't my fault, blame John Nathan-Turner"
Doctor Who, like any other intellectual property, belongs to a specific owner. In this case, it is the BBC. Therefore, it is very much their bat and ball to use an old phrase. They hire specific writers who are then given relative creative freedom to develop the character of the Doctor. The process is not driven by the will of the fan base. The self-appointed label of “fan” doesn’t give you any additional status or rights over than that of a casual viewer. If a show such as Doctor Who pursues a narrative direction that some fans do not like or cast an actor that a percentage object to, then it is simply a matter of differing opinions between creator and consumer. To frame such objections in any other way is spurious. Therefore, if don’t like the next actor to play the Doctor and feel that you’ve suffered a personal slight or grievance as a result, may I refer you to the wise words of Marcus Aurelius. “Reject your sense of injury and the injury itself disappears”.
The great thing about Doctor Who is that it's Science fiction. The very nature of the genre affords it a far greater degree of artistic freedom. Effectively, if the show ever paints itself into a corner, they can via the means of some clever pseudo-science, easily produce a get out of jail card and be back on track in no time. Therefore, issues such as race and gender can easily be explained, explored and accommodated by the lore, if there is the political will to do so by the show’s producers. Let us not forget that the biggest issues here are not complex social and philosophical ones but the simple fact that people often struggle with change. Yet it was change that saved Doctor Who to begin with and gave us single episode story-lines, less running up and down corridors and a sexier Doctor himself. The show simply had to evolve to remain relevant.
So, while this matter is being hotly debated, I see no reason why Contains Moderate Peril shouldn't contribute to the speculation and offer some of our own well-conceived suggestions. All our recommended actors have the potential to bring something unique and special to the role. I wonder what odds William Hill are giving?
- Grace Jones. This would see a return to a more eccentric.
- Jason Isaacs. Cool, suave, sexy etc.
- Meera Syal. A fine actress and a funny lady. I’m certain she’d bring something of note to the role.
- Susan Calman. She has already put herself forward on twitter with the caveat that Tom Hardy is her companion.
- Michael Ironside. Because he would just be bat-shit crazy and make the Daleks soil themselves.
Classic Movie Themes: Krull
After the success of his nautically themed score for Star Trek II: The Wrath of Khan, composer James Horner was very much in demand. Columbia pictures subsequently hired him over the likes of John Williams and Jerry Goldsmith to compose the soundtrack for Krull (1983). The movie was to be the studios flagship fantasy title and their most expensive production to date, costing $50 million. Unfortunately, the curious mixture of science fiction and fantasy failed to find an audience and was a box office failure. The film most certainly does have flaws. The screenplay was constantly re-written and the lead actor, Ken Marshall is somewhat underwhelming. Yet the production and costume design are outstanding and the movie is beautifully shot.
After the success of his nautically themed score for Star Trek II: The Wrath of Khan, composer James Horner was very much in demand. Columbia pictures subsequently hired him over the likes of John Williams and Jerry Goldsmith to compose the soundtrack for Krull (1983). The movie was to be the studios flagship fantasy title and their most expensive production to date, costing $50 million. Unfortunately, the curious mixture of science fiction and fantasy failed to find an audience and was a box office failure. The film most certainly does have flaws. The screenplay was constantly re-written and the lead actor, Ken Marshall is somewhat underwhelming. Yet the production and costume design are outstanding and the movie is beautifully shot.
The film score composed by James Horner and performed by The London Symphony Orchestra and the Ambrosian Singers, is vibrant and rousing. It's swashbuckling approach is very reminiscent of the works of Erich Wolfgang Korngold. It features vibrant fanfares, a sumptuous love theme and an avant-garde use of string instruments to represent some of the more fantastical elements of the story. Krull represents some of the composers finest work from his early years with its rich and exuberant motifs. It is certainly one of the movies greatest assets and again shows the importance a films soundtrack in underpinning and reflecting the on-screen narrative.
Wrath of the Titans (2012)
A decade after his heroic defeat of the monstrous Kraken, Perseus-the demigod, son of Zeus, is attempting to live a quieter life. Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity's lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos. Enlisting the help of the warrior Queen Andromeda, Poseidon's demigod son Argenor and fallen god Hephaestus, Perseus bravely embarks on a treacherous quest into the underworld to overthrow the Titans and save mankind. Or so Warner Bros. Pictures say in their 2012 press release for Wrath of the Titans.
A decade after his heroic defeat of the monstrous Kraken, Perseus-the demigod, son of Zeus, is attempting to live a quieter life. Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity's lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos. Enlisting the help of the warrior Queen Andromeda, Poseidon's demigod son Argenor and fallen god Hephaestus, Perseus bravely embarks on a treacherous quest into the underworld to overthrow the Titans and save mankind. Or so Warner Bros. Pictures say in their 2012 press release for Wrath of the Titans.
Like so many of my age group, the works of Ray Harryhausen had a profound impact upon me. Films such as Jason and the Agronauts (1963) and Clash of the Titans (1981) although having very little basis in the classical literature, inspired me to read Homer’s the Iliad and The Odyssey. The myths of the ancient world offer rich veins of material that explore the fundamental aspects of life. Like the Western, this is a genre that can be adapted to reflect a multitude of themes. Yet despite this, director Jonathan Liebesman has managed craft a turgid melodrama which beyond the superficial contains very little narrative substance.
You would have thought that the basic premise of the Gods of Olympus facing death through a lack of human devotion would make for a strong and compelling storyline. Sadly it is underdeveloped and once the basic idea is clumsily telegraphed Wrath of the Titans simply lurches from action scene to action scene. A similar fate befell its predecessor, Clash of the Titans, which excised a substantial amount of content about the Gods relationship with man, from its final edit. Once again with Wrath of the Titans we see a movie edited in favour of spectacle at the expense of story and character development. An extra ten to fifteen minutes of dialogue, interspersed through the movie would have added more weight to the proceedings. It certainly would have made us care more.
Bill Nighy as Hephaestus briefly enlivens the movie, with his one sided conversations with a broken mechanical owl. Yes, at least the production got one thing right with another reference to Bubo from the original Clash of the Titans. It is also fair to say that the depiction of the Titan Kronos, as a behemoth made from cooling molten rock, is impressive. Yet beyond the fact that we are told that he is “bad” he really is nothing more than an arbitrary plot device. It’s a shame because I remember a time when cinematic bad guys use to be such fun.
I often feel that I am writing in an echo chamber as my complaints about Wrath of the Titans are the same that I’ve made about so many other contemporary mainstream studio pictures. However, irrespective of my concerns it would seem that there’s an audience for such things as Wrath of the Titans. So if you have a hankering to watch quality actors such as Ralph Fiennes and Liam Neeson ham it up in front of green screens then knock yourself out. Whether films such as these sustainable, well it’s difficult to say. Wrath of the Titans made a profit at the box office but it was down by over $150 million compared to the previous movie. To date a third instalment has not yet appeared.
Clash of the Titans (2010)
When I initially heard that Clash of the Titans was to be remade, I had mixed feelings. I grew up watch Ray Harryhausen movies and have a great affection for them. However, it can be argued that the 1981 original movie has hardly Harryhausens finest work. It was saddled with an uninspired script, a wooden lead and seemed very dated compared to comparable fantasy movies at the time, such as Dragonslayer. So, I chose to give the 2010 remake the benefit of the doubt. I was even prepared to overlook the fact that the movie had been retrofitted in to 3D during post-production. A pointless embellishment. Upon my first viewing, which I saw on a big screen West End theatre, I was left with mixed feelings. I recently decided to watch Clash of the Titans again to see if there were any aspects of the film that I had overlooked. Sadly, my conclusions remained the same.
When I initially heard that Clash of the Titans was to be remade, I had mixed feelings. I grew up watch Ray Harryhausen movies and have a great affection for them. However, it can be argued that the 1981 original movie has hardly Harryhausens finest work. It was saddled with an uninspired script, a wooden lead and seemed very dated compared to comparable fantasy movies at the time, such as Dragonslayer. So, I chose to give the 2010 remake the benefit of the doubt. I was even prepared to overlook the fact that the movie had been retrofitted in to 3D during post-production. A pointless embellishment. Upon my first viewing, which I saw on a big screen West End theatre, I was left with mixed feelings. I recently decided to watch Clash of the Titans again to see if there were any aspects of the film that I had overlooked. Sadly, my conclusions remained the same.
Clash of the Titans has a somewhat turgid script, loaded with lots of contemporary dialogue. I’m not a fan of this sort of screenplay. Not that I want faux Old English as that would be as equally lazy. I just feel that some modern terms and idioms should be absent and that dialogue should reflect the social norms of the time. As a result of the somewhat generic narrative, we have several A-list actors (Ralph Fiennes and Liam Neeson) chewing the scenery and generally giving the screenplay the Vincent Price treatment. Then we have Sam Worthington, who at this point hadn’t quite found his comfort zone with regard to his choice of film roles. As a result, he is a singularly uninteresting hero.
As for the visual effects work and digital creations, they’re very competent, yet the way they are implement means that they’re often overbearing rather than engaging. Clash of the Titans is also a very noisy film. Once again contemporary film makers fall in to the trap of thinking that rapid edits, excessive camera motion and sheer volume, are an easy way to create tension and excitement. Then there is the casual brutality instead of suspense that is so often casually thrown in to movies of this rating (PG-13), irrespective of whether its needed or not. Unfortunately Clash of the Titans has precious little to do with the source legends that allegedly inspire it. Even with generous concessions to artistic licence, this bears little relationship to the ancient world.
Yet despite all these obvious flaws, I still enjoyed Clash of the Titans on a simplistic level. It is exactly what it claims to be, IE a big budget popcorn movie made in the modern idiom. Actors such as Pete Postleswaite and Mads Mikkelsen are always watchable and effectively carry the movie. Liam Cunningham has some suitably dry quips and frequently raises a wry smile. The location photography is vivid and production design surprisingly inventive. Most importantly of all, the character "Bubo" from the 1981 original, has been omitted from the storyline. There is one self-referential scene that touches on this matter, in a very funny way (or at least I thought so). As a result this one aspect did much to redress the films other failings.
It is very easy to get disproportionately nostalgic about the past and make sacred cows out of films that have a special place in our hearts. But we have to check our emotional baggage at the door of the cinema (or lounge) and go in focused on judging a remake on its own merit. There are many factors that shape a film. We must consider not only the technical abilities of those involved in the production but the prevailing social attitudes and trends of the time. Often, to compare both old and new is a bit like comparing apples and pears. Clash of the Titans is a prime example of studio blockbuster fodder, tailored to today's market. But if you accept that from the outset, it can still be enjoyed despite what it is.
Diary of a Podcaster Part 2
A week on from my last post on this subject, I have decided to script the entire of my solo podcast. It won’t be one hundred percent verbatim but I need to get the lion share of my thoughts down prior to recording. I discovered over several recording sessions that I continuously think of additional points to add as I’m speaking. The net result is having to constantly stop and start Audacity, the program I use for recording, as well as having to research extra points on the fly. Again, I was not happy with the finished product as you could frequently hear the hesitation or more to the point, the frustration in my voice. So, I’ve returned to the idea of having well fleshed out notes with some sections such as the introduction, written out in their entirety.
A week on from my last post on this subject, I have decided to script the entire of my solo podcast. It won’t be one hundred percent verbatim but I need to get the lion share of my thoughts down prior to recording. I discovered over several recording sessions that I continuously think of additional points to add as I’m speaking. The net result is having to constantly stop and start Audacity, the program I use for recording, as well as having to research extra points on the fly. Again, I was not happy with the finished product as you could frequently hear the hesitation or more to the point, the frustration in my voice. So, I’ve returned to the idea of having well fleshed out notes with some sections such as the introduction, written out in their entirety.
With regard to the second new podcast that I’m producing, this is a discussion or chat show that requires a guest on each episode. Although I have several lined up, the main problem always comes down to scheduling a convenient time for all parties to meet online and record. I must admit that at present the main obstacle is myself, as my schedule has been somewhat busy of late. I’m also still working on collating a list of cogent questions and points of discuss. However, the main objective of the new show is to focus upon the guests and encourage them to talk about themselves and their experiences. The key to a good show of this kind is to coax them in to holding forth with some subtle lines of enquiry.
In other podcast news, I have decided to subscribed to Zencastr as it has proven to be an invaluable product over the last year. While the program was in development myself and Brian relied upon it regularly for the recording of the Burton & Scrooge Podcast. Not once did we have a recording fail. As a result, I have decided to pay for the Pro package available for $20 a month (after a 14-day free trial) which offers a wealth of facilities. These include Unlimited Guests, Unlimited Recordings, Live Editing Soundboard, Record in High Quality MP3, Record in 16-bit 44.1k WAV and 10 Hours Automatic Postproduction per month. I’m very keen to try the soundboard feature and integrate stings and bumpers in to the show while recording, rather than in post-production.
I was toying with the idea of making a formal announcement about both new podcasts on Contains Moderate Peril, in the pious hope that it would force my hand to produce both shows as quickly as possible. I was initially considering producing both monthly, however the reality of the situation is that, like Gandalf, they’ll arrives precisely when they mean to. Sometimes you just have to embrace the capricious nature of one’s life and accept the fact that you can’t do everything that you want at the pace you dictate. So, in the meantime, I would advise you all to listen the Scrooge Uncut; Brian’s new podcast. He has already posted an update to the first episode and has more material waiting in the wings. My shows are still very much in development.
Star Trek Online: Season 12 and the 7th Anniversary
There’s a lot going on in Star Trek Online at present. The game is currently celebrating its seventh anniversary which means there’s a chance to earn a new Tier 6 Lukari Ho’kuun Science Vessel, via the repeatable Omega Molecule Stabilization anniversary event. Season Twelve has also just launched, with the featured episode Of Signs and Portents. The story continues with Starfleet’s joint exploration with their new ally the Lukari, and features actor Tony Todd reprising his role of General Rodek. There is also the addition of the Lukari reputation faction, along with two new Tzenkethi Space Queues and Battlezone. If this wasn’t enough Cryptic have also added a new Kits and Modules Research School to the existing R&D system as well as a new lock box, featuring 23rd Century ships and technologies.
There’s a lot going on in Star Trek Online at present. The game is currently celebrating its seventh anniversary which means there’s a chance to earn a new Tier 6 Lukari Ho’kuun Science Vessel, via the repeatable Omega Molecule Stabilization anniversary event. Season Twelve has also just launched, with the featured episode Of Signs and Portents. The story continues with Starfleet’s joint exploration with their new ally the Lukari, and features actor Tony Todd reprising his role of General Rodek. There is also the addition of the Lukari reputation faction, along with two new Tzenkethi Space Queues and Battlezone. If this wasn’t enough Cryptic have also added a new Kits and Modules Research School to the existing R&D system as well as a new lock box, featuring 23rd Century ships and technologies.
As ever, Cryptic have been generously giving away free items from the C-Store over the course of the anniversary week, including uniforms, skills points, ships slots and drydock spaces. Furthermore, the console version of the game continues to grow, with the recent PC expansion Agents of Yesterday being ported to Xbox One and PS4 next month. Executive producer Stephen Ricossa stated in a recent anniversary letter that “2016 was not just another amazing year for Star Trek Online, but the best year we’ve ever had” and is confident that the game will thrive this year. “There are even more fantastic releases planned for 2017, and a continuation of the current story line that will grow and weave as it takes us well into 2018”. Marketing spin notwithstanding, the abundance of new material across multiple platforms appears to show that Star Trek Online is doing well in the current MMO market.
Conversely, at a time when STO is thriving, other MMOs are either treading water or in some cases facing imminent closure. Turbine will be shutting down Asheron’s Call at the end of January and it doesn’t look as if there’s likely to be an eleventh-hour rescue from a third party. In fact, Turbines exit from the MMO industry to focus on mobile games, indicates that the MMORPG as a genre is no longer considered as lucrative as it was a decade ago. Many developers have learnt the hard way that creating a World of Warcraft clone that produces the same level of financial success, is nigh on impossible. Star Trek Online, like LOTRO, endure mainly because of the popularity of the core IP and the inherent loyalty of the fan base.
Where LOTRO, under the auspices of Warner Bros. never fully tied in to the Hobbit feature films, it will be interesting to see if the new TV show Star Trek Discovery gets incorporated in to STO. Bearing in mind that Cryptic have so far included direct lore references from all previous Star Trek shows and even the J J Abrams movies under the guise of the Kelvin Timeline, then I’d say it’s more than likely certain. Enjoying such a cordial business relationship with the rights holders CBS, certainly seems to be proving healthy for STO. It’s curious that matter of the game license has never become such an issue among the fan community as it has with LOTRO. In the meantime, there’s plenty of content to explore in STO, ensuring my regular presence in the game for the immediate future. As a lifetime account holder, I feel that I always have the option of taking a break from the game, should it require it but so far, since May 2015 I’ve been pretty much continuously kept busy. Not bad for a seven-year-old MMO.
Yet Another Divided Community?
Overwatch is currently celebrating the Chinese New Year with an event that adds not only additional cosmetic skins but also a new game mode. Capture the Rooster is a themed variation of capture the flag. What makes this new content so interesting is that Blizzard initially stated that such a game mechanic would not be viable for the game, due to the abilities of specific characters giving them an unfair advantage. However, the developers have placed a time delay between capturing the flag and when a player can run with it, allegedly mitigating this loophole. Yet despite this change Capture the Rooster is still proving controversial with the player base. Feel free to peruse the comments section over at Polygon or on the Overwatch subreddit for further information. The key to success appears to be with having a balanced organised team. Thus, guilds that player regularly fair better than players who just auto group.
Overwatch is currently celebrating the Chinese New Year with an event that adds not only additional cosmetic skins but also a new game mode. Capture the Rooster is a themed variation of capture the flag. What makes this new content so interesting is that Blizzard initially stated that such a game mechanic would not be viable for the game, due to the abilities of specific characters giving them an unfair advantage. However, the developers have placed a time delay between capturing the flag and when a player can run with it, allegedly mitigating this loophole. Yet despite this change Capture the Rooster is still proving controversial with the player base. Feel free to peruse the comments section over at Polygon or on the Overwatch subreddit for further information. The key to success appears to be with having a balanced organised team. Thus, guilds that player regularly fair better than players who just auto group.
This point and others demonstrate the divide that has quickly formed within the Overwatch community. As ever this division forms around player styles. Specifically, casual players who auto group and play for fun and those who pursue ranked competitive gameplay. I’ve read a lot recently about the alleged “toxicity” of the Overwatch community but have not encountered it myself until recently. But then again, I have been “playing in the shallow end” with regard to my time in game. I usually just use the Quick Play facility to auto group with players of my level. If I want to try and familiarise myself with a new character, then I play against the game AI. So far, all my interactions with other players have been positive. There’s been a few crass comments but they’ve been few and far between. However, as I recently hit level 30, I decided to give the Competitive Play ago and the difference in behaviour was striking.
Competitive gameplay can be a good thing, or so I’m told. Please insert all the usual platitudes about team dynamics, creating communities and building character here. I’m not sure if they are applicable to all players but I’m prepared to consider that not everyone partaking of Competitive Play in Overwatch is ill-mannered and ill humoured. Yet the reality is that a lot are and as ever they leech all the enjoyment out of the proceedings. Tantrums about changing characters as well as blame and anger after a lost round are all too frequent. As ever, racially abusive terms, sexually violent threats and brooding rancour liberally abound in text and audio chat. There’s a somewhat tiresome and tedious inevitability about this state of affairs. Furthermore, it’s sad because the ranked games in Overwatch, do tend to be better. Players show a far greater understanding on their character’s skills and have better situational awareness. I must admit I’ve been impressed by the standard of the games I lost. It’s just a shame that all this goes hand in glove with a simultaneous race to the bottom.
I and possibly many of my colleagues have reached a point now in our respective gaming lives where these kinds of community divides are just a fact of life. Ranked playing simply comes with baggage and you just have to roll with it. If such a mechanic is introduced in to any game, then this kind of behaviour always manifests itself. Of course, different developers try different approaches to correct this situation, with vary degrees of sincerity and success but I suspect it is ultimately unsolvable. The anonymity of the internet simply frees people from social convention and shows that perhaps our default position isn’t as nice as we would like to think. So, it’s back to the “shallow end” for me. I have insufficient skill anyway to truly thrive in ranked gameplay and as a result I don’t enjoy such an environment. As for the issues of division and “toxicity” (which is a nebulous term) perhaps they just prove that the brotherhood of gamers, so often extolled, is a myth and that we all play for vastly differing reasons. Therefore, why should we all get along?
Looking for the Right RPG
Sometimes when you try something new, you can inadvertently enter the market at the top end. For example, if the first fantasy novel you read may be The Lord of the Rings or the first RPG game you play is either Skyrim or The Witcher 3: Wild Hunt, then you’re definitely dealing with A list products. Although this has the benefit of providing a high quality personal experience, it also comes with a downside. The bar for such content has now been set extremely high and subsequent forays into similar territory may not be as good or enjoyable. To use a clumsy analogy, once you’ve had Châteauneuf-du-Pape, your local stores economy brand may no longer suffice.
Sometimes when you try something new, you can inadvertently enter the market at the top end. For example, if the first fantasy novel you read may be The Lord of the Rings or the first RPG game you play is either Skyrim or The Witcher 3: Wild Hunt, then you’re definitely dealing with A list products. Although this has the benefit of providing a high quality personal experience, it also comes with a downside. The bar for such content has now been set extremely high and subsequent forays into similar territory may not be as good or enjoyable. To use a clumsy analogy, once you’ve had Châteauneuf-du-Pape, your local stores economy brand may no longer suffice.
I have grown to like RPGs in recent years. I enjoy the open world environments and the scope they offer for epic story telling. When done well an RPG creates the illusion of a living world. This can range from major events that have an impact upon the landscape, all the way down to the banter that is exchanged between NPCs in the town centres. For me the most important factor in all of this is the underlying narrative. I want to like the central character and participate in an engaging story. Effectively, The Witcher 3: Wild Hunt has spoilt me rotten and I would very much like to have a comparable experience with another title. However, finding such a game can prove difficult.
Recently I revisited Arcania: Gothic 4 and played through the main game as well as the expansion, Fall of Setarrif. The game's mechanics are perfectly adequate and the combat, crafting and skills point allocation have been straight forward. The game engine is not too shabby and ingame world looks quite vivid. The climate changes from sunshine to rain and the wind sways the foliage, producing a pleasant and credible environment to explore. The different zones do feel a little to artificially hemmed in at times, which can break the illusion that this is a true open world but it’s not a deal breaker. Sadly the sea is not accessible and you cannot swim from the coastline due to invisible walls
The character models are acceptable but upon closer inspection are repeated quite a lot within the game. You cannot customise the look of the character that you play, which is a little disappointing. The voice acting is also somewhat patchy and there are dialogue glitches that occur from time to time. The subtitles do not always match what is said, which can be both confusing and hilarious. Which leads me to the games overall story which is sadly an arbitrary fantasy adventure. It not excruciatingly bad and I've endured far worse in the past. It's just very generic with the usual tropes, faux lore and geographical locations. The dialogue is a very stylised form of "Olde English" with liberal use of UK colloquial slang.
It's a shame that there aren't more open world games based in different settings. The RPGs, despite having some high-profile forays in to the science fiction genre, still seems to be predominantly, fantasy-centric. Can we not have a change? This is one of the reasons I like Sherlock Homes: Crimes & Punishment and The Testament of Sherlock Holmes. I love the authentic Victorian world that developers Frogwares have created with its attention to detail and period atmosphere. Such an environment would be ideal for an RPG but sadly these games are not technically of that genre and merely hint at the potential of true open world. The bottom line is that fantasy sells, having a tried and tested track record, so it takes a bold vision to do something different.
Even with the latest technological resources, creating an expansive open world game which simulates a living world, as well as populating it with well-defined NPCs, is time consuming and expensive. As a result, game’s such a Skyrim and The Witcher 3 are few and far between. The PC port of Grand Theft Auto V, despite sporting a fantastically detailed sandbox environment sadly lacked the depth of narrative that I look for. It was a similar story with Watch Dogs. It makes me wonder if the RPG genre will ever reach its full potential, due to the fact that gamers aspirations and developers financial imperatives seem to be at odds with each other. In the meantime, I'll soldier on and try another of the RPGs I have in my Steam catalogue. Let’s see if there’s any mileage in Risen 3: Titan Lords.
Classic Movie Themes: Conan the Barbarian
A well written film soundtrack does more than simply embellish the on-screen imagery. It permeates the very fabric of the film and becomes character itself, adding emotional content and driving forward the narrative. However, there is a fine line between enhancing the pace and atmosphere of a film and simply "telegraphing" imminent events in a melodramatic fashion. The score for Conan The Barbarian by the late Basil Poledouris is a rare example of the former and in itself totally sublime. Using the traditional style of the "leitmotif", a ninety-piece orchestra and twenty four voice choir, Poledouris creates "a continuous musical drama" that has now entered the pantheon of classic modern film scores.
A well written film soundtrack does more than simply embellish the on-screen imagery. It permeates the very fabric of the film and becomes character itself, adding emotional content and driving forward the narrative. However, there is a fine line between enhancing the pace and atmosphere of a film and simply "telegraphing" imminent events in a melodramatic fashion. The score for Conan The Barbarian by the late Basil Poledouris is a rare example of the former and in itself totally sublime. Using the traditional style of the "leitmotif", a ninety-piece orchestra and twenty four voice choir, Poledouris creates "a continuous musical drama" that has now entered the pantheon of classic modern film scores.
The opening credits of 1982 movie directed by John Milius, (infinitely superior to the 2011 reboot) depicts Conan's Father forging a sword and establishes the central plot device regarding the "Riddle of Steel." The sequence is beautifully complemented by Basil Poledouris's intense and bombastic title theme, the "Anvil of Crom". It is a powerful piece played by twenty French horns, strings and timpani and sets the tone eloquently for the remainder of the film. According to Poledouris, Milius envisioned Conan as an opera with very little or no dialogue. The movie therefore has musical accompaniment for most of its two hour plus running time.
Housing in MMOs
Having recently returned to The Elder Scrolls Online, there is a lot of excitement within the community regarding the introduction of housing in the next major game update in February. So far from the information that is available, there’s a wide variety of house styles and customisation options available. Properties can be bought furnished or unfurnished and players can further embellish their respective dwellings by crafting specific items for them. Housing also includes the usual fast travel options to and from their location and access can be shared among friends and alts. There’s a more detailed breakdown at The Elder Scrolls Online website and so far, ZeniMax seem to be offering all a comprehensive version of the current popular MMO mechanic.
Having recently returned to The Elder Scrolls Online, there is a lot of excitement within the community regarding the introduction of housing in the next major game update in February. So far from the information that is available, there’s a wide variety of house styles and customisation options available. Properties can be bought furnished or unfurnished and players can further embellish their respective dwellings by crafting specific items for them. Housing also includes the usual fast travel options to and from their location and access can be shared among friends and alts. There’s a more detailed breakdown at The Elder Scrolls Online website and so far, ZeniMax seem to be offering all a comprehensive version of the current popular MMO mechanic.
LOTRO is also implementing a housing upgrade with its next update, allowing home contents to be placed where the player wants them, as opposed to relying on predefined “hooks”. Again, this is an improvement that has been long awaited by the LOTRO community. Over the years, previous developers Turbine frequently promised changes to the housing mechanic but sadly failed to implement them. At present homes and the homesteads in which they are located, simply offer the same services as the major towns and social hubs, with the benefit of some extra storage. In fact, as far as I’m aware there is no major social dynamic to any of the housing systems implemented in any of the top ranking MMOs.
It is this social element or the lack of thereof that is predominantly of interest to me. Let us not be diverted with questions regarding the purchase of in-game housing. In the modern MMO market making premium housing available for cash purchase is simply a no-brainer. What you can do with housing is a far more interesting talking point. At present housing mainly offers in the MMO genre additional storage, an opportunity for aesthetic customisation and convenient support services. For example, in LOTRO if you repair your gear from a vendor based in the homestead, there is a discount. STO and SWTOR can offer access to personal and account banks as well as the auction facilities. STO is a little different to other MMOs in so far as your ship is your home to all intents and purposes.
What housing across most MMOs fails to do is offer any additional social facilities or unique group content. Players can group together and generate their own social events but they can also do that in other areas such as Bree, Earth Spacedock or Divinities Reach. Considering how many MMOs have strong social communities, especially among roleplayers, you’d think that game developers would be quick to capitalise on such human resources. If there were more reasons for players to use their homes and spend time in the homestead areas, the demand for housing would increase, thus bringing more revenue to any game. Housing could also provide a potentially different way to play MMOs. If crafting became more accessible via housing, players could level by developing their own cottage industries.
However, it is only fair to consider the other side of the argument. Some players may well like and prefer the relative tranquillity of housing as it is currently implemented. Not everyone wants to find fifty plus players embarking on a lengthy social event next door to them, spamming emotes and indulging in shenanigans. And many of the more recent MMOs do not seem to be as actively social as the older ones. So far, I have seen no compelling reason to join a guild or interact with other players in The Elder Scrolls Online. Guild Wars 2 is also a game I have predominantly played alone and it still seems to lack any essential social mechanic. Perhaps dynamic grouping effectively renders more complex social interaction redundant.
From my perspective, I always like to have more options than less. I also like social functionality to be optional and not essential. Therefore, I welcome any improvement to housing for any MMO along with any bespoke future social content. As long as it comes with a toggle in the UI settings then I’ll deem it an equitable arrangement. If a big guild wants to use its housing to a higher degree and access potential in-game benefits, then it should be afforded such an option. But I would also ask the developers to make judicious use of the phasing mechanic or offer the option to buy a “remote house” for those of a more solitary disposition. I am neither a strong advocate of either mantra, “better together” or Hell is other people”. I believe that the truth lies somewhere between the two.
Conquest of the Planet of the Apes - Unrated Version (1972)
I have always been a fan of the Planet of the Apes films since I saw them on TV as a child. At the time I enjoyed them on a very superficial level, where upon later viewing I became aware of their political and sociological subtext. I recently caught up with the alternative version of Conquest of the Planet of the Apes that is available on Blu-ray. Director J. Lee Thompson's original cut of the film was considered too bleak and was re-edited into the theatrical version that most viewers are familiar with. The differences were mainly substitutions hence both versions have the same running time.
I have always been a fan of the Planet of the Apes films since I saw them on TV as a child. At the time I enjoyed them on a very superficial level, where upon later viewing I became aware of their political and sociological subtext. I recently caught up with the alternative version of Conquest of the Planet of the Apes that is available on Blu-ray. Director J. Lee Thompson's original cut of the film was considered too bleak and was re-edited into the theatrical version that most viewers are familiar with. The differences were mainly substitutions hence both versions have the same running time.
The 2008 Blu-ray release includes both the theatrical version and an Unrated version with an alternate opening credits sequence as well as an alternate ending sequence. These were both re-edited and re-shot due to a poor test audience reaction. The studio also wished to secure a lower theatrical rating and thus maximize the potential box office returns. The subsequent changes make substantial impact upon the tone of the film and certainly take the narrative in a different direction.
In the opening, a police patrol tracks and kills a gorilla, which is shown to have numerous cuts and welts through maltreatment. Governor Breck later refers to a gorilla who turned on his master and was killed. In the ending, Caesar allows the apes to beat Breck and the other human’s prisoners to death. Breck does not cower, but faces his executioners. The Chimpanzee Lisa does not say "No" and Caesar makes no speech counselling compassion. There are also additional shots of apes and humans bleeding from gunshots, and apes stacking bodies of dead riot police.
Such violent material and a downbeat ending where not uncommon to seventies cinema. In fact you only have to look back three years prior to Beneath the Planet of the Apes for a prime example. However, Twentieth Century Fox were aware of the diminishing box office returns of the franchise and did not want to further harm profits with excessive political content that could further alienate an audience. In some respects this entry in the series is perhaps the most cerebral. Certainly this alternate version makes quite a powerful statement, has greater credibility and is Roddy Mc Dowall's best performance in the series.
Yet this cut of the film cannot stand as the definitive version as it effectively contradicts the premise for the next instalment. Battle for the Planet of the Apes begins with both apes and the human survivors attempting to live in peace. Something that could have hardly take place if there had been a massacre as depicted in the unrated version of Conquest of the Planet of the Apes. Therefore, this alternative version remains an interesting companion piece, rather than a replacement for the established theatrical
The Abandoned Graveyard
In LOTRO, as you travel north of Bree along the Greenway, there is a small cleft in the hills to the left of the road. It’s southeast of Saeradan's Cabin, east of Thornley's Work Site, and south of the Festival Grounds. In this remote spot is a small abandoned graveyard within a low walled enclosure. An empty cabin overlooks the site and a solitary mourner weeps at the grave of a departed friend. It’s a rather mournful place and somewhat esoteric. The mourner doesn’t bestow any quests, nor do any of the other NPCs in the vicinity. In fact, beyond the aesthetic, this location serves no apparent purpose in the game. So, what is the purpose of the abandoned graveyard?
In LOTRO, as you travel north of Bree along the Greenway, there is a small cleft in the hills to the left of the road. It’s southeast of Saeradan's Cabin, east of Thornley's Work Site, and south of the Festival Grounds. In this remote spot is a small abandoned graveyard within a low walled enclosure. An empty cabin overlooks the site and a solitary mourner weeps at the grave of a departed friend. It’s a rather mournful place and somewhat esoteric. The mourner doesn’t bestow any quests, nor do any of the other NPCs in the vicinity. In fact, beyond the aesthetic, this location serves no apparent purpose in the game. So, what is the purpose of the abandoned graveyard?
Well after a little research, trawling through old forum posts and defunct websites, it would appear that this particular location represents a storyline and quest hub that was removed from the game during its development. Breeland is one of the original areas of LOTRO that came with Shadow of Angmar. It is quite common for material to be removed from a game during its testing. There are (or at least were) other examples of such in LOTRO. At one point a hidden Hobbit village, west of the Shire, was still accessible in the game. As for why such content was changed I cannot say. Size, relevance or quality may well have been deciding factors.
There is certainly some evidence remaining within the graveyard area itself that sheds light on a possible story arc. To the right of the cabin is an old wagon. Next to it is a corpse with a dagger in its chest. There are also skeletal remains scattered around the area. Was someone caught grave robbing and subject to summary justice? Also there’s the graveyard mourner and her reference to old Cal. Both present interesting possibilities. Who are they and what is their history. There is also one grave that differs from the others by having a small bush (or flowers) growing on it. Is this of any significance?
The graveyard itself is also a point to ponder. In western culture, such places are usually linked to major religious institutions. Yet Tolkien does not mention any comparable equivalent bodies in The Lord of the Rings. In fact, theirs is a conspicuous lack of any major organised faith in the source text. Although a Catholic, Tolkien conspicuously avoids any major theological elements in his work. With regard to burial practises, the only references that I can immediately recall are to barrows, burial mounds and tombs. So, is a graveyard a little incongruous, or should we just accept it, assuming it to be the standard manner of dealing with the deceased of Middle Earth?
There may well be more examples of residual stories and quest littering the game. However, they may not be as tangible as the abandoned graveyard. As the game has been revamped on several occasions, it gets harder to tell. So many NPCs, items and quest locations have been moved over LOTROs lifespan, it’s possible that many potential clues have now been lost. Yet these anomalies do add a great deal of character to the game which is one of the reasons I return to LOTRO frequently. And there presence provides more reasons to explore the MMOs extensive regions and zones.
Diary of a Podcaster Part 1
I recently wrote in a blog post that I would be producing a new podcast this year and that Burton & Scrooge Uncut would be taking a break for the immediate future. Well in fact I’ve decided to record two new shows. In the meantime, Brian has already embarked upon his solo project and seems to have found his niche already. I however am currently bogged down in the pre-production process and because the format of the new podcast is different from those I’ve done before, it is proving to be a little more challenging than I initially thought. Since I find writing to be a practical way of ordering my thoughts, I thought I’d keep a podcast diary. I can therefore work through some of the issues that arise as well as produce a blog post, now that I’m back to writing daily.
I recently wrote in a blog post that I would be producing a new podcast this year and that Burton & Scrooge Uncut would be taking a break for the immediate future. Well in fact I’ve decided to record two new shows. In the meantime, Brian has already embarked upon his solo project and seems to have found his niche already. I however am currently bogged down in the pre-production process and because the format of the new podcast is different from those I’ve done before, it is proving to be a little more challenging than I initially thought. Since I find writing to be a practical way of ordering my thoughts, I thought I’d keep a podcast diary. I can therefore work through some of the issues that arise as well as produce a blog post, now that I’m back to writing daily.
Despite a busy schedule I managed to find some time today to record some material for one of the new podcasts I’m working on. This project is a solo show and it’s taken me a while to adjust to the format. I’ve spent the last six years recording with a co-host(s) and have become use to riffing off others. The dynamics of a good group conversation move a podcast forward and have an inherent rhythm. Although editing such a discussion can be more complex, there is a very natural quality to the finished product. Recording a podcast exclusively on your own can result in a somewhat stilted delivery. Or at least that’s what I’m finding. I found that a third of the material that I recorded today simply sounded like I was reading from an autocue. I therefore won’t use it and will replace later.
I usually advocate a warm up discussion on group recordings, as it really does seem to iron out a lot of the verbal ticks etc. It’s something we learned quickly on previous shows, especially when we had guest who were unfamiliar with the recording process. I may have to try and think of a similar technique for the solo podcaster. I have a theory that if I place an object or picture in front of me and focus upon that, as if I were addressing it, it may help with the delivery. I don’t want this particular podcast to sound like a lecture or a formal public address. I want there to be a degree of depth but would prefer a more conversational tone. I suspect that next time I record I will be speaking to Walter (see picture above for details).
Every podcaster approaches their final cut with their own unique set of rules. Some folk edit very little, where I fret and fuss about every pregnant pause or piece of over lapping dialogue. I hate it when I mangle my words or fluff my lines. I also worry that the respective segments are too long. It's very hard to define a common standard as so many people have different views. It's also a temptation to listen to other people’s podcasts and make comparisons to your own, even though often you’re doing completely different things. These issues are compounded with my current project as it is a solo affair and broadly meant to be an audio form of long-form criticism. Length and detail are essential to the format but there is still a need frame it all within an acceptable structure.
I suspect that I shall have to do a degree of experimenting over the next week to find both a tone and an editorial style that I like. Of course, I may be over thinking things. I’m sure many of my fellow podcasters would not fret or fuss over the things that concern me and would have forged ahead with their own recordings under similar circumstances. However, we are all slaves to our own nature and I have standards that I want to adhere to. So, I shall persevere and see what progress I make next time I record. The first episode of the new show has been mapped out and has specific topics and bullet points. I just need to find a suitable tone. As for the length and editing issues, I shall address them once I have all the recording done.
Crooked House (2008)
The BBC has a history of supernatural dramas broadcast over the festive season. During the seventies and eighties, they have frequently adapted classic ghost stories by such authors as M. R. James, Charles Dickens, and Hector Hugh Munro aka Saki. In late 2008 BBC Four broadcast Crooked House; a three-part ghost story shown on consecutive nights from 22nd to 24th December. It was written and co-produced by actor and writer Mark Gatiss, of The League of Gentlemen fame. The three inter-linked episodes form a portmanteau story, influenced by the works of M. R. James and Amicus compendium horror films of the seventies.
The BBC has a history of supernatural dramas broadcast over the festive season. During the seventies and eighties, they have frequently adapted classic ghost stories by such authors as M. R. James, Charles Dickens, and Hector Hugh Munro aka Saki. In late 2008 BBC Four broadcast Crooked House; a three-part ghost story shown on consecutive nights from 22nd to 24th December. It was written and co-produced by actor and writer Mark Gatiss, of The League of Gentlemen fame. The three inter-linked episodes form a portmanteau story, influenced by the works of M. R. James and Amicus compendium horror films of the seventies.
The plot centres on the ghostly history of Geap Manor, a recently demolished Tudor mansion. The stories are relayed by local Historian (Mark Gatiss) to local resident Ben (Lee Ingleby), who has discovered an old door knocker from the manor house. The first story, "The Wainscoting", set in the late 18th century, centres around Joseph Bloxham (Philip Jackson), who has boughtand started renovating the Manor. It would appear that he has greatly profited from an investment which ruined his fellow speculators. Strange noises are heard behind the newly installed wainscoting, along spectral blood stains. Is this due to the timber coming from the gallows known as “Tyburn Tree”?
The second vignette, "Something Old", takes place in the twenties, while Geap Manor hosts a decadent costume party. During the evening Felix de Momery announces his engagement to Ruth, much to the surprise and annoyance of his Grandmother (Jean Marsh) and his friends, Billy and Katherine. It is not long before a ghostly bride stalks young Ruth, forcing a long-kept family secret in to the open. In the final contemporary set tale, "The Knocker", Ben foolishly puts the knocker from demolished Geap Manor on his own door. Recently split from his partner, his modern suburban home proves no protection from sinister forces from the past and the spirit of Sir Roger Widdowson.
Writer and actor Mark Gatiss has produced not only a loving homage to the portmanteau genre but constructed a thoroughly creepy and unsettling drama. Crooked House displays a sound knowledge of history with a lot of detail and period slang which embellishing the proceedings. However, unlike other writers, he successfully balances narrative ambiguity with the need to shows enough of the supernatural to appeal to a broader audience. Performances, production design, soundtrack and visual effects are all of the calibre audiences expect from the BBC. Crooked House is a throwback to a genre that has become quite a rarity in recent years. I was strongly reminded of the TV series Hammer House of Horror. Crooked House successfully bridges the divide between old and new producing a drama that is pitched perfectly for a modern audience.
The Geography of LOTRO: Part 1 The Shire
One of the most engaging aspects of The Lord of the Rings is the expansive and detailed world that Tolkien has created. His love of maps combined with his detailed descriptions of the geography of Middle Earth, makes a credible and living environment. The Shire in particular is described in great depth, becoming a character in itself within the narrative. So, when Turbine developed LOTRO a decade ago, they were faced with an extremely difficult task of adapting this territory into a suitable MMO environment. However, the results have been well received and this region has remained a firm favourite with LOTRO players. So, I thought it would be interesting to look in more detail at selected areas of Middle Earth and explore the subtle differences between the game and the source text over a series of blog posts. So, let us start where the story begins, in The Shire.
One of the most engaging aspects of The Lord of the Rings is the expansive and detailed world that Tolkien has created. His love of maps combined with his detailed descriptions of the geography of Middle Earth, makes a credible and living environment. The Shire in particular is described in great depth, becoming a character in itself within the narrative. So, when Turbine developed LOTRO a decade ago, they were faced with an extremely difficult task of adapting this territory into a suitable MMO environment. However, the results have been well received and this region has remained a firm favourite with LOTRO players. So, I thought it would be interesting to look in more detail at selected areas of Middle Earth and explore the subtle differences between the game and the source text over a series of blog posts. So, let us start where the story begins, in The Shire.
One of the most important factors to consider with regard to an MMO map, is size. No matter how much of a Tolkien purist you are, I do not think that any game player would be happy with an exact scale realization of Middle Earth. It would mean taking days to travel anywhere, which far from practical for an MMO. Remember that it took Frodo, Sam and Pippin two and a half days to get from Hobbiton to Crickhollow on foot. So Turbine have reduced the scale in a measured and reasonable way. They have also morphed the in-game map to give locations a more even spread . This is quite noticeable in "The Shire". Green Hill Country has been drastically reduced in size and several northern settlements such as Oatbarton and Dwalling removed from the map and relocated to the next in-game area. It should also be noted that at present, the entire "South Farthing" is absent from the game. In light of Standing Stone Games recent acquisition of the game, perhaps this area will appear later in a future expansion.
Despite these adaptations, Turbine have still managed to recreate the spirit of The Shire. They have maintained the rustic feel with the farmlands, orchards and such embellishments as waterwheels and windmills. It is easy to balk at the encompassing mountains ranges that effectively fence in each gaming area but one is hard pressed to come up with a suitable alternative. As a gamer, I have never been a big fan of invisible barriers as they are jarring and can break immersion for some. The Shire is also filled with a wealth of features taken directly from the book, varying from the well-known to the subtle. Various taverns and farms can be found which most readers will be familiar with, as well as more esoteric landmarks such as Three Farthing Stone.
When you contrast the in-game map with one from the books, you discover much that is missing from LOTRO. As mentioned earlier, some may well feature in future expansions. Currently in LOTRO, The Shire has a gate not far from the homestead entrance, that separates the "South Farthing". Beyond this should lie such settlements as Hardbottle, Sackville and Longbottom. The latter being the main area for the cultivation of pipe-weed in The Shire. Another thing to consider is the substantial reduction in size of Green Hill Country. Although I can see the necessity to do so, it does mitigate a plot point. Unspoilt areas of forest such as the Woody End, were rare in this region of Middle-earth. This was a main reason that the High Elves still visited The Shire and is therefore of significance in terms of the story. It should also be noted that much of the infrastructure of the area (roads and bridges) were originally established by the Dunedain. The region was initially was a part of Arthedain, and as such a part of Arnor. It was at one time part of the farm land for that kingdom.
The Shire remains one of the most popular areas in LOTRO. Turbine managed to create a depiction of Tolkien's work, that despite practical compromises, has not been trivialised or suffered from "Disneyfication". It captures the essence of the source text, which in itself is based on pre-industrial West Midlands of England and offers a very striking visual interpretation. As one of the first areas made for the MMO, The Shire has a level of attention to detail that has been missing from some of the more recent zones. Perhaps that is why it resonates so well with the community. You’ll find region bustling with players throughout the year.
The Most Dangerous Game (1932)
“He talks of wine and women as a prelude to the hunt. We barbarians know that it is after the chase, and then only, that man revels. You know the saying of the Ogandi chieftains: "Hunt first the enemy, then the woman." It is the natural instinct. The blood is quickened by the kill. One passion builds upon another. Kill, then love! When you have known that, you have known ecstasy."
The concept of hunting people for sport is hardly a new cinematic idea. Over the years there have been numerous movies that have explored the subject. A Game of Death (1945) Run for the Sun (1954) and Surviving the Game (1994) to name but a few. However back in 1932, this was a bold plot device. Cinema was still a relatively unregulated industry (the Motion Picture Production Code didn’t start being enforced until 1934) and as a result was under increasing scrutiny for its increasingly salacious tendencies. However, such issues did not dissuade producers Merian C. Cooper and Ernest Schoedsack who were quick to see the potential of Richard Connell’s short story "The Hounds of Zaroff". It offered an opportunity to examine the “sin of Cain” with its plot about a reclusive Russian aristocrat who hunted men for pleasure on a private Caribbean island. And then there was scope to explore some of the more “adult” elements of the story (as the above quote alludes to).
“He talks of wine and women as a prelude to the hunt. We barbarians know that it is after the chase, and then only, that man revels. You know the saying of the Ogandi chieftains: "Hunt first the enemy, then the woman." It is the natural instinct. The blood is quickened by the kill. One passion builds upon another. Kill, then love! When you have known that, you have known ecstasy."
The concept of hunting people for sport is hardly a new cinematic idea. Over the years there have been numerous movies that have explored the subject. A Game of Death (1945) Run for the Sun (1954) and Surviving the Game (1994) to name but a few. However back in 1932, this was a bold plot device. Cinema was still a relatively unregulated industry (the Motion Picture Production Code didn’t start being enforced until 1934) and as a result was under increasing scrutiny for its increasingly salacious tendencies. However, such issues did not dissuade producers Merian C. Cooper and Ernest Schoedsack who were quick to see the potential of Richard Connell’s short story "The Hounds of Zaroff". It offered an opportunity to examine the “sin of Cain” with its plot about a reclusive Russian aristocrat who hunted men for pleasure on a private Caribbean island. And then there was scope to explore some of the more “adult” elements of the story (as the above quote alludes to).
The Most Dangerous Game was shot on the existing sets of King Kong (1933) thus giving the film a lush tropical environment without the inconvenience of a location shoot. The movie is also a surprisingly adult undertaking for the times with some very subtle themes about sexuality and the predatory nature of man. The cast is strong with Joel McCrea, (Bob Rainsford) Fay Wray, (Eve Trowbridge) and Leslie Banks (Count Zaroff). It should be noted that the acting style of the times was a lot more theatrical than it is today. However, this does not diminish the tone of the film or its brooding atmosphere. The cinematography is very innovative, featuring overhead tracking shots, often during action sequences. The use of the “close-up” was also a very novel device in 1932 and later became an integral tool in Italian and particularly Japanese cinema. Max Steiner's score is clever and compliments the film immensely.
The Most Dangerous Game is a grim film featuring an impaling, severed heads in jars and undercurrent of sexual menace. Do not be fooled by the quaint early thirties idioms and style, this is very much adult material. The Most Dangerous Game has a nasty streak running through its relatively short hour plus running time and is all the better for it. As a study of the baser aspects of human nature it has not dated and still makes a pertinent statement. It also showcases some early examples of special effects techniques such as matte paintings, foreground miniatures and travelling mattes. Contextually these are very good. This was a cutting-edge film upon its original release. The Most Dangerous Game is therefore required viewing for any scholar of cinema. It succinctly illustrates that sex and violence are by no means a modern cinematic invention and have been an integral part of film making since the birth of the industry.
